
Class <_ 



Book 







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COPYRIGHT DEPOSIT. 



WOODWORK 

: ^=== and =^=^^ 

Mechanical Drawing 




BY 

WILLIAM PAUL FOX 



FOX BROTHERS, PUBLISHERS 
CHICAGO, ILLINOIS 



TT ^5 
Fgs 



COPYRIGHT, 1914 

BY 

WILLIAM PAUL FOX 



NOV .10 1914 



CI. A 387783 



TO THE TEACHER 

MANUAL TRAINING as a school study has successfully 
passed the stage of experimental teaching and reached a 
recognition that requires neither defense nor apology. But 
there remains, as in all school work, a distinct necessity for 
relating it to the every-day needs and desires of the child, not 
so much the young child as the developing child in his teens. 
To meet these needs by stimulating inquiry and promoting 
activity along the line of directed work is the aim of the author. 
The desire for the beautiful is also met by the large number of 
projects offered, among which the pupil is left free to select the 
ones he admires for construction. 

Mechanical drawing is a necessary adjunct of good manual 
training; the eye must aid the hand in the task set by the brain. 
The exercises presented are designed to promote that skill 
which in time would make the youthful worker able to select 
and prepare his own drawing and to apply his knowledge to any 
problem he may encounter. 

Tools, hardware, stains, waxes, and lumber, in so far as they 
come under the observation of the young student, receive men- 
tion. 

No attempt has been made to formulate a hard and fast 
text; on the contrary the natural limitations incidental to widely 
differing school districts have been kept in mind. It is hoped 
the teacher will not only permit but encourage the greatest pos- 
sible freedom of choice in selecting the task. 

The author gratefully acknowledges his indebtedness for 
suggestions and advice to many friendly sources — notably, John 
J. Fox, John S. Kief, Walter H. Aitken, John T. Driscoll, and 
Mary E. Tobin. 

— 3 — 



TABLE OP CONTENTS 

LESSON NO. PAGE 

1. Saws : 7 

2. Exercise in Laying-out and Sawing 8 

3. The Plane 9 

4. To Square a Board 12 

5. Match Scratcher 15 

6. Tea Pot Stand . 18 

7. Calendar Back 19 

8. Trellis 21 

9. Pin Tray 23 

10. Blotter Pad 25 

11. Picture Easel 27 

12. Ink Stand 29 

13. Shelf 32 

14. Whisk Broom Holder 35 

15. Coat Hanger 38 

16. Book Rack 40 

17. Handkerchief Box 42 

18. Child's Wheel Barrow 45 

19. Hat and Coat Rack 46 

20. A Costumer 49 

21. A Tabouret 50 

22. Foot Stool 53 

23. Clock Case 55 

24. Piano Bench 57 

Suggested Problems 58 

Lumbering 62 

Finish 64 

Hardware 67 

Mechanical Drawing 69 

Suggested Equipment 143 

— 5 — 



LIST OF PLATES 



PLATE NO. PAGE 

1. The Plane and its Parts. . 10 

2. Match Scratcher 15 

3. Tea Pot Stand 18 

4. Calendar Back 19 

5. Trellis 21 

6. Pin Tray 23 

7. Blotter Pad 25 

8. Easel 27 

9. Ink Stand 29 

10. Shelf 33 

11. Whisk Broom Holder 35 

12. Coat Hanger 38 

13. Book Rack 40 

14. Handkerchief Box 42 

15. Wheel Barrow 44 

16. Hat and Coat Rack 46 

17. Costumer 48 

18. Tabouret 50 

19. Foot Stool 52 

19(a). Foot Stool Details... 52 

20. Clock Case 54 

21. Piano Bench 56 

22. Drawing Exercise 78 

23. Geometric Constructions. 83 

24. Bread Board 84 

25. Kitchen Utensil Rack 85 

26. Key Rack 86 

27. Bench Hook 87 

28. Ring Toss 88 

29. Drawing Board 89 

30. Letter Holder 90 

31. Shelf 91 

32. Nail Box 92 

33. Corner Shelf 93 

34. Sleeve Board., 94 

::■"). Xecktie Rack 95 

36. Envelope Holder 96 

37. Book Rack 97 

38. Book Rack 98 

39. Adjustable Book Rack 99 

40. Book Rack 100 

41. Magazine Rack 101 



PLATE NO. PAGE 

42. Magazine Rack 102 

43. Handkerchief Box 103 

44. Glove Box 104 

45. Comb and Brush Rack. . . 105 

46. Bench 106 

47. Foot Stool 107 

48. Foot Stool 108 

49. Knife and Fork Box 109 

50. Foot Stool 110 

51. Book Ends Ill 

52. Plate Rail 112 

53. Plate Rack 113 

54. Medicine Cabinet 114 

55. Carrying Case 115 

56. Tabouret 116 

57. Tabouret 117 

58. Clock 118 

59. Clock Case 119 

60. Towel Rack 120 

61. Blackening Stand 121 

62. Book Stand 122 

63. Windox Box 123 

64. Pedestal 124 

65. Umbrella Stand 125 

66. Lamp 126 

67. Costumer 127 

68. Child's Adjustable Chair. 128 

69. Stool 129 

70. Magazine and Book Rack. 130 

71. Cedar Chest 131 

72. Writing Desk 132 

73. Settee .- 133 

74. Telephone Seat and Stand 134 

75. Settee 135 

76. Arm Chair 136 

77. Details for Arm Chair. . . 137 

78. Chair 138 

79. Fern Stand 139 

80. Morris Chair 140 

81. Table 141 

82. Lamp 142 



— 6 — 



Cross Cut 5a w Teeth 



LESSON NO. 1 

SAWS 

Saws may be divided into two groups; first, power saws, 
such as band and circular saws; second, all kinds of hand saws. 
The second group is used in manual training. They are classified 
as follows: 

(1) The Cross-cut 
Saw, for cutting across 
the grain of the wood. 
The teeth of this saw are 
sharp pointed, Fig. 1, and 
act like so many knives 
cutting a double knife 
line across the board. 
The sharp point cuts, and 
the body of the tooth 

tears out the wood between the knife lines. 

(2) The Rip Saw, for cutting in line with the grain of the 
wood. This saw has chisel-pointed teeth, Fig. 2. Each tooth 
cuts like a small chisel. A rip saw must be used in line with, not 
across, the grain of the wood. 

(3) The Back Saw, ^^^^- ^-^ - ^-^ r-^-^^z^: 
tor tine, accurate cut- 




ting and fitting. This R,p 5 * w TEETH <?•*, 

is a cross-cut saw with /-^^^^^^Xs^^^^^^^^s^ Y7 
a steel back to stiffen N. ^S—^ I 

the blade. It has very v^__^- — — 

small teeth, which are FIG - 2 

not set, but depend for their clearance upon the wire edges left 
by the file in sharpening; may be used for either ripping or 
cross-cutting. 

(4) The Turning Saw, for circular and irregular shaped 
cutting. This saw has a blade 12 or 14 inches long, and from 
i/s" to tV' wide, with rip saw teeth, and adjustable handles. 
The frame is wood, with an iron or rope tie-bar. 

(5) The Coping Saw, for circular and irregular shaped cut- 
ting of thin boards. This saw has a narrow blade about 32" wide, 
with small teeth, and a metal frame. 

It is very important that a saw should be set correctly, that 
is, it must cut easily without binding. A saw that is properly 
sharpened must be set with every alternate tooth projecting to 
one side. The other teeth must be bent slightly in the opposite 
direction, Figs. 1 and 2. 

— 7 — 








LESSON NO. 2 

EXERCISE IN LAYING OUT AND 

SAWING 

1. Measuring from one end of the 
board, lay out the length given by 
the instructor. Use a two-foot four- 
fold rule and lay on edge so that the 
divisions on the rule are against the 
boards, Fig. 3. This is the correct 
way to use this type of rule for 
accurate measuring. 

2. Place handle of try square 
against one edge of the board and 
with pencil mark across the board, 
Fig. 4. Mark in this manner all 
boards which are to be squared. 
Never saw a board without first 
drawing a line. In ordinary work 
a good test of accuracy is to saw 
this line completely out; that is, it 
should not show anywhere after the 
cutting is completed. 

3. Lay the board on top of the 
bench with line to be sawed out- 
side the edge of the bench. If the 
board is a short piece, place it in 
vise instead of on top of the bench. 
The weight of a long board held by 
the hand secures firmness so that a 
vise is not needed. 

4. Start the saw by drawing the 
first few strokes towards the body. 
Then push steadily away along the 
marked line, Fig. 5. Do not press 
down on the saw ; it cuts on the for- 
ward and not on the backward 
stroke. 

5. Set the marking gauge at the 
width given by the instructor. Mark 
this width on board, Fig. 6. 

6. Place board in the vise, and 
with a rip saw cut along the line, 
Fig. 7. 

Save this board for planing 
exercise. 



LESSON NO. 3 
THE PLANE 

1. Study carefully the drawing 
of the plane and its parts, Plate 1. 
Note the lateral adjusting lever, ad- 
justing nut, the frog, the Y adjust- 
ment, the plane iron, cap iron, cap, 
the double plane iron (which is the 
plane iron and cap iron together), 
the knob, and the handle. 

2. To sharpen the plane take 
apart and remove the double plane 
iron. Loosen the cap iron screw 
which holds the plane iron to the 
cap iron. The plane iron is the 
only part which is sharpened. If 
the bevel on plane iron is too 
rounded or too short from sharpen- 
ing on oil stone very often, have it 
ground again. The bevel should be 
about 25° or T y to 14" long. 

3. Grinding — Place the plane 
iron against a tool rest set at a dis- 
tance suitable to obtain the bevel 
wanted, Fig. 8. The tool rest shown 
is a strip of wood nailed to the 
grindstone frame. Grindstones 
having cast iron frames sometimes 
have adjustable tool rests. Hold 
the plane iron against the stone 
with both hands and grind the edge 

square and straight. The safe way is to have the stone turn 
away from you, though it cuts much faster when it is turning 
toward you, which is the way mechanics use it. 

4. Oil Stoning — Grinding does not sufficiently sharpen a 
plane; it only gives the correct bevel. To sharpen a plane iron 
hold in both hands on the oil stone at the same angle as the 
bevel of the plane iron, and rub on the stone, Fig. 9, until you 
raise a feather or wire edge, that is, until you can feel the metal 
turned over on the straight side of the plane iron. Do not make 
the feather edge large, as it is unnecessary. Press harder on 
each edge in order to round the corners a trifle so as not to dig 
into the wood and cause ridges. Turn the plane iron over and 
hold perfectly flat on the straight side and rub, Fig. 10, until 

— 9 — 





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— 10 — 



the feather edge disappears on that 
side. You will be able to feel it on 
the beveled side now. Turn the 
plane iron over again on the beveled 
side and rub a few strokes. Con- 
tinue these operations until the 
feather edge disappears entirely. 
Feel for it on both sides, but be 
careful not to cut your fingers. 

5. Adjusting the Plane — The ad- 
justing nut is for gauging the thick- 
ness of the shaving the plane is to 
cut. An easy way to set a plane is 
to draw the plane iron up by means 
of the adjusting nut until it is even 
with the bottom of the plane. Then 
carefully turn the adjusting nut 
while moving the plane across the 
board until the shaving is of the 
proper thickness. If the plane cuts 
on either edge of the blade instead 
of the center, turn the lateral ad- 
justment toward the edge that it 
is cutting until the shavings are 
being cut in the middle of the plane 
iron. Always cut very thin shav- 
ings, and have your plane sharp. 

6. In using the plane carefully 
follow the directions given below: 

When in the position shown in 
Fig. 11, press down on the knob, 
and hold up the handle so that the 

bottom of the tool may be in the same plane as the surface of 
the board you are handling. 

As your plane moves along the board and is in the position 
shown in Fig. 12, press on both knob and handle. 

When the plane nears the position shown in Fig. 13, press 
on the handle and take the pressure off the knob. 

— li — 







LESSON NO. 4 
TO SQUARE A BOARD 

Lumber that is badly warped 
should not be used. A board 8" 
wide should not be more than y 8 " 
out of true. Lumber that is warped 
is sometimes flattened by steaming 
or soaking in water, and when thor- 
oughly soaked is clamped flat and 
left to dry in a warm dry place, 
either in a dry kiln or near hot 
steam pipes. This is an expensive 
operation and is seldom done in 
shops, as the boards can be used by 
sawing them into narrow strips. If 
a board is warped considerably 
more than y 8 " it is liable to crack 
in the assembling of the problem. 

Dressed Lumber. Take any 
board and mark its concave sur- 
face; this is the working face. To 
find the concave face put the blade 
of a try square across the grain of 
the wood and test, Fig. 14. 

1. Place the board in a vise and 
plane one edge straight, Fig. 15, and 
square with the working face 
(marked face), Fig. 16. This edge, 
which is straight and square with 
the concave surface, is known as the 
working edge. All measuring and 
testing are done with reference to 
this edge and the working face. 

2. Chamfer corner opposite the 
working edge, not more than y±'\ 
less will do. This prevents split- 
ting. Plane the end square with 
the working edge, Fig. 17, and the 
working face, Fig. 18. Plane from 
the working edge toward the cham- 
fer. 

— 12 — 



3. Measure the length and mark 
it with try square and pencil, Fig. 
19, from the trued end. Chamfer 
the other corner. Plane this end to 
length and test the same as for the 
first end. Square with the work- 
ing edge, Fig. 17, and the working- 
face, Fig. 18. 

4. Set the marking gauge at the 
required width and from the work- 
ing edge gauge the width, Fig. 20. 
If the board is wider than is re- 
quired, saw with a rip saw to Vs" 
from the gauge line. Plane to this 
line, and have the edge straight and 
square with the working face. It 
will also be square with both ends. 

5. Take a fine shaving off each 
face to remove the dirt and ma- 
chine planer marks, Fig. 21. 

Another method is used when 
boards are so near the correct width 
that it would not be possible to cut 
the chamfers and plane them out, 
for when the board is completed 
there should be no chamfers left. 
In this second method the concave 
side is found and the working edge 
trued the same as in the first 
method. The ends are trued by 
planing about two-thirds across the 
ends from the working edge, then 
reversing and planing about two- 
thirds across from the other edge, 
Figs. 22 to 23. By taking a few 
shavings off first in one direction 
and then in the other the ends may 
be planed just as well as by the 
other method. After the ends are 
trued the board is proceeded with 

— 13 — 






in the same way as in the first 
method. This method is used al- 
most entirely with expensive woods 
to save material. 

There is a third method that is 
used when the lumber is not dressed, 
or when very accurate work is re- 
quired. Instead of using the con- 
cave face as the working face, either 
one of the faces is used and planed 
flat. In testing, the try square is 
first placed across the grain, Fig. 
14, and then diagonally across the 
grain, Fig. 24. This second test 
is to detect any twist in the board. 
This true face is used as the work- 
ing face, and the planing is pro- 
ceeded with in the same manner as 
in Methods 1 or 2. To plane the 
last face the marking gauge is set 
to the required thickness, Fig. 25, 
and the board planed to this gauge 
line. Pattern makers usually em- 
ploy this method because of the 
extreme accuracy of their work. 

A fourth method is sometimes 
used ; the following being the order 
in which it is done : First, true face ; 
second, true working edge; third, 
gauge width and true second edge; 
fourth, gauge thickness and true 
other face; fifth, true first end; 
sixth, true second end. This method 
is employed where a number of 
pieces of the same width are needed. 
Take a board equal to the length of 
the pieces required plus enough to 
allow for sawing and planing of 
ends. True both faces and edges. 
Cut to required lengths and true 
ends. 



— 14 — 





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PLATE 2 



LESSON NO. 5 
MATCH SCRATCHER 

Saw off a piece of wood 5*4" 
long and 31/2" wide. This allows 
for planing. In sawing stock a 
good rnle to follow is to allow y±' 
longer and i/-/' wider than the re- 
quired finished size. Plane stock 
to 5" long and 3" wide. Use the 
first method on page 12; follow 
carefully the directions, step by 
step. 

Lay out a line 1" from each 
edge; also from top. This makes 

— 15 — 







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FIG. 30 







three one-inch squares at top of 
hoard. In the middle square draw 
diagonals for the location of the 
hole. In the corner squares draw 
diagonals for the upper corners, 
Fig. 26. 

Place the board in a vise and 
saw off corners tV" from the line 
with a back saw. Start the saw 
as if it were a cross-cut or a rip 
saw. Gradually bring it to a hori- 
zontal position so as to cut the full 
width of the board, Fig. 28. 

Plane the corners with a smooth- 
ing plane to the lines, not below 
them, Fig. 29. 

Test often with a try square 
while planing. 

Bore hole with tV gimlet bit, 
Fig. 30. 

Plane the surfaces clean and 
smooth. Use a bench-hook to hold 
the board instead of the vise. Be 
careful not to plane the board un- 
even in thickness, Fig. 31. 

Sandpaper the edges and sur- 
faces with No. 1 sandpaper wrapped 
around a block of wood. Hold this 
against the surface and rub with 
the grain, never across it, Figs. 32, 
33, and 34. Do not round the cor- 
ners. 

Stain and wax. See directions 
on pages 64 to 67. 

Use a piece of No. iy 2 sandpaper 
2 1 /£"x3%" for a scratcher and glue 
it on. 

— 16 — 



BOARD MEASURE 



Quotations on lumber are made 
at so much per thousand feet board 
measure, represented by the letter 
M. A thousand feet board meas- 
ure equals 1,000 square feet of lum- 
ber 1" or less in thickness. This 
does not mean that lumber 1 / 4 ,/ in 
thickness costs the same as lumber 
1" in thickness, but it means that if 
you bought 1 M of W lumber you 
would receive the same surface 
measurement as if you bought 1 M 
of 1" lumber and that this lumber 
would cover 1,000 square feet of 
surface if used as a floor. In buy- 
ing 1 M of 2" lumber you would re- 
ceive 500 square feet of surface 
measurement if used as a floor. 

1. How many board feet of lum- 
ber are needed to lay a 1" rough 
floor in a barn 20' wide and 50' 
long? 

Solution: 20x50=1,000. 

Ans. 1,000' board measure or 
1,000' B. M. 

2. How many board feet if this 
floor is 2" thick? 

Solution: 20x50x2=2,000. 
Ans. 2,000' B. M. 

3. For a floor 1%" thick? Solution: 20x50xl 1 />=l,500. 
Ans. 1,500' B. M. 

4. How many board feet in a board 1" thick, 1' 0" wide, and 
10' 0" long? Ans. 10' B. M. 

5. How many board feet in a board 1" thick, 9" wide, and 
16' 0" long? Solution: 9/12x16=12. Ans. 12' B. M. 

6. How many board feet in a board 2" thick, 10" wide, and 
12' 0" long? 

7. How much would a board 1" thick, 1' 0" wide, and 10' 0" 
long cost with lumber worth $80.00 per M? Ans. $0.80. 

8. How much would a board 1" thick, 18" wide, and 10' 0" 
long cost with lumber worth $100.00 per M? 

— 17 — 




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LESSON NO. 6 
TEAPOT STAND 

Saw a piece of wood 5%" long 
by 6" wide. 

Plane to 5y 2 "x5y 2 ". 

Mark for tV chamfer around 
the top surface of the board with 
a marking gauge, Figs. 35 and 36. 

Plane chamfer, planing the ends 
first. Use a diagonal stroke so as 
not to break the edges, Fig. 37, or 
plane the chamfer, cutting two- 
thirds across the width of the board 
and then reverse and plane two- 
thirds across the other edge. 

Plane the surface the same as 
for the match scrateher, using 
bench hook. 

Sandpaper the same as in the 
first problem. 

Stain and wax. See pages 64 
to 67. 

— 18 




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LESSON NO. 7 

CALENDAR BACK 

Plane board 10"x5"x3/ 8 ". Mark 
l 1 /^" from top and two sides, and 
S 1 ^ from the bottom, using the 
marking gauge, Fig. 38. 

Bore tV' hole at any point in 
enclosed figure with hand gimlet to 
put the coping saw through. 

Saw out opening with coping 
saw tV inside of lines. Place the 
coping saw blade through the hole, 

— 19 — 



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FIG. 38 




points of teeth facing away from 
you. Put the blade in front slot, 
holding the other end of blade in 
the other hand with the front end 
of saw frame against the bench, and 
press against it until the frame is 
sprung far enough to receive the 
other end of the blade, Fig. 40. 

Use both hands when sawing 
and take easy strokes, keeping the 
blade perpendicular at all times to 
the board, Fig. 41. In turning cor- 
ners do so very slowly. In taking 
saw apart use same method as in 
putting it together. 

File to lines, using a flat file. 
Place both hands on file, Fig. 42, 
and keep horizontal so that the 
filed edge will be perpendicular to 
the board. In filing, the stroke is 
forward and sideways at the same 
time, so that the cut will be con- 
tinuous along the whole length of 
the edge. The file cuts on the for- 
ward and not the backward stroke. 

Plane clean, sandpaper, stain, 
and wax. 

Glue picture to the back and 
cover with a piece of straw board. 

Tack calendar to back with 
brass tacks or use %" round-head 
screws. 

Suggestion. — Select a calendar 
and picture with colors and design 
in harmony with wood used. 

— 20 — 



LESSON NO. 8 



TRELLIS 



Stock, finished size. 



1 piece *4"xl%"x2'0". 
1 piece *4"x %"x 9". 
1 piece i,4"x %"x 6". 
1 piece i,4"x y 2 "x 3". 

Lay out as shown on your drawing for location of holes, rip 
sawing, and pointing of bottom, with try square and marking 
gauge, Fig. 43. 




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PLATE 5 



FIG. 43 



21 




Bore with tV dowel bit. Place 
the bit in the brace and be sure to 
get the jaws of the brace to fit 
around the square shank of the bit. 
Bore the holes, putting the board 
in a vise, Fig. 45. Hold the brace 
and bit perpendicular to the sur- 
face of the board and bore until 
tip of bit just comes through other 
side of board. Then turn the board 
around and bore from the other 
side. This will leave a clean cut 
hole from both sides, instead of a 
ragged one on one side, as is the 
case when the hole is bored through 
from one side only. 

With a rip saw, cut on marking 
gauge lines, Fig. 46. Clean all 
pieces with a plane. No sandpa- 
pering is necessary. 

Assemble parts, using two 7 / 8 " 
blocks of wood to spread the arms, 
Fig. 47. Be careful not to spread 
them too far and thus split the 
wood. %" No. 3 round-head screws 
will make very nice work, although 
%" brads may be used. 

Give one coat of green paint to 
protect the wood from moisture and 
harmonize it with the foliage of the 
plant the trellis is to be used with. 

Suggestion. — By increasing or 
decreasing the thickness of the 
lumber and the width of the stock 
a trellis of any desired size may be 
constructed. 



— 22 — 




LESSON NO. 9 



PIN TRAY 



Cut a piece of stock 7y 2 " long, 
6y 2 " wide, and %" thick. With rip 
saw cut this board into two pieces; 
one 7yo" long by 3y 2 " wide, the 
other 7y 2 " long by 3" wide. 

Lay out with dividers and try 
square as shown in Fig. 49. Fig. 
50 is a photograph of the board 
properly laid out. 

Plane to the lines of both boards. 
Keep the edges of both boards 
straight and square with the con- 
cave face of each. There will then 
be two boards, one 7 1 / 2 // by 3" and 

— 23 — 






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FIG. 49 




the other 7y 2 " by 21/0". Their long- 
narrow edges will be parallel and 
square with the concave face of 
both boards. 

Saw ends of both boards tV 
away from lines. Use coping saw. 

In the larger board saw out the 
enclosed space in the center. Use 
coping saw. 

Now file this inner opening with 
the half round file. Then file the 
ends with the flat side of the file 
following the lines of the curve. Do 
not file across the width of the 
board, Fig. 51. 

Plane all the surfaces of both 
boards clean and smooth. 

Sandpaper the opening, putting 
the sandpaper around a half round 
file, Fig. 52. 

Sandpaper the curved ends by 
rubbing them over sandpaper held 
upon the bench. Use a rocking mo- 
tion, Fig. 53. Sandpaper the re- 
maining edges and surface in the 
usual way. 

Nail the two pieces together 
with y 2 " brads, Fig. 54. 

Set the nails tV" below the sur- 
face, using nail set. Avoid strik- 
ing the wood with the hammer. 

With No. V2 sandpaper carefully 
smooth the whole problem. 
Stain and wax. 

— 24 — 





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LESSON NO. 10 



BLOTTER PAD 



Stock, finished size. 

1 piece %"x3"x5". 
1 piece %"xl"x3". 

With marking gauge lay out a 
line ^4" from the bottom along the 
two long edges, Fig. 56. 

Place in a vise, Fig. 57, with a 
block of wood about 6" long, the 
bottom side of the blotter pad fac- 
ing away from the block. 

Set the dividers at 5", placing 
one leg of the dividers at one of 

— 25 — 






the 14" lines and strike an arc. Do 
the same from the other 14" line, 
Fig. 57. At the intersection of 
these arcs place one leg of the di- 
viders and draw the bottom curve, 
Fig. 58. On the other end do the 
same. 

Place in a vise and plane to 
curve, Fig. 59. Sandpaper the bot- 
tom, going across the grain, so as 
to smooth out the flat sides left by 
the plane, Fig. 60. 

Shape handle. See Problem 
No. 1. 

Nail together with iy 2 " nails. 

Finish. 

Glue blotter to bottom. 






Summaey. — These ten lessons 
have illustrated the use of rip and 
cross cut saws, the laying out and 
sawing of boards; the use of the 
try sqfuare; the use and adjustment 
of the plane; the four methods of 
squaring a board; the use of the 
back-saw; the trueing of edges at 
any angle; the use of a hand gim- 
let bit; the use of sandpaper; the 
cutting of a chamfer; the use of 
coping saw and file; the use of 
brace and bit; interior cutting; the 
use of screws and nails; the assem- 
bling of the parts of a project. 

— 26 — 




PICTURE EASEL 

Stock, finished size. 

No. 1. 1 piece %"x5"xl0". 

No. 2. 1 piece %"x3y 2 "x5y 2 ". 

No. 3. 1 piece %"xl"x4y 2 " 
On piece No. 1, plane the work- 
edge and one end. Square the end 
with the working edge. Use this 
end for the bottom. Lay out de- 
sign as shown on your drawing, 
Fig. 62. Cut design with back saw, 
Figs. 64 and 65, and plane true. 

On piece No. 2, plane the work- 
ing edge and both ends. Square the 
ends with the working edge. Lay 
out as shown on drawing, Fig. 63. 

— 27 — 




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FIG. B3 




On piece No. 3, true all edges. 

Take a fine cut off all surfaces 
of the three boards with a smooth- 
ing plane. This will make them 
smooth and clean. Then sandpaper. 

After sandpapering, lay out the 
following light lines with a sharp 
pencil on piece No. 1; a center line 
from top to bottom on both sides 
of board; a horizontal line 1" from 
the bottom on both sides of board. 
The center line is for nailing No. 1 
on No. 2. The bottom line for nail- 
ing No. 1 on No. 3. 

Decide which is to be used for 
the back of piece No. 1, preferably 
the convex side. (It makes a bet- 
ter joint to place the concave side 
against the piece it is to be nailed 
to.) Drive four 1" No. 17 brads 
into the board on the bottom line, 
so that the points of the nails come 
through. If the nails have been 
driven in correctly the points will 
pass through the lines on the other 
side of the board. 

Place piece No. 3 in position, 
Fig. 66, and continue driving the 
nails. Set the nails with a nail set. 
Be careful not to mar the board. 
The hammer should not touch it. 

Place piece No. 1 against piece 
No. 2 as it will stand when finished, 
Fig. 67, and mark where it belongs. 
Drive four 1" No. 17 brads through 
the center line as you did for the 
first piece. Put piece No. 2 in place, 
Fig. 68, and finish. Eub all pencil 
lines off with a rubber eraser and 
sandpaper where needed. 

Use the finish you prefer. 

— 28 — 



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mortise to be 
cut 3/fe of 
Ink We// 



'Ink 5TAND- 




LESSON NO. 12 

INK STAND 

Stock, finished size. 

1 piece 5" long, 6" wide, %" thick. 

True all edges. 

Lay out for groove and mortise, 
with marking gauge, dividers, try 
square and a pencil, Figs. 70 and 71. 
See Lesson 10 for method of laying 
out groove with dividers. 

Sharpen gouge with a regular 
oil stone, Fig. 72, and slip stone, 
Fig. 73. Use the regular oil stone 

— 29 — 





to raise the feather edge which will 
lie on the inside of the curve, Fig. 
72. Then alternate with the slip 
stone on the inner curve, Fig. 73, 
and the oil stone on the outer curve 
until the feather edge disappears. 
The slip stone is made of the same 
material as the oil stone, the differ- 
ence being in shape only. 

With a rubber mallet and a 
gouge cut the groove close to the 
lines, Fig. 74. 

Then finish without the rubber 
mallet, holding the gouge in both 
hands and carefully paring to the 
lines, Fig. 75. Leave no large 
ridges. 

Scrape with a goose-neck 
scraper all the ridges out of the 
groove, Fig. 76. 

Sandpaper the groove by wrap- 
ping sandpaper around a cylinder 
l 1 //' in diameter, Fig. 77, or make 
a block about 5 ,/ xl 1 / 2 ,/ with an edge 
curved to a %" radius. Use the 
method followed in Lesson 10 in 
making this block. The cylinder or 
block should always have a smaller 
radius than the groove. 

Cut the mortise. Sharpen the 
chisel as the plane iron was sharp- 
ened with the exception that the 
edge of the chisel is kept straight 
instead of being slightly curved. 

Place the chisel on the line, with 
the straight side facing the out- 

— 30 — 



side of the mortise. With a rubber 
mallet cut about tV deep all around 
the mortise, Fig. 78. Then put the 
board in a vise and cut down tV, 
chiseling across the grain of the 
wood, Fig. 79. Repeat this opera- 
tion until the mortise is about ^4" 
deep. 

Plane clean and smooth, and 
sandpaper. Finish in any manner 
desired. 



EXERCISES 

1. Tell how you would make a 
blotter pad without using a han- 
dle but in place of it gouging out 
the sides for finger grips. 

2. Tell how you could make a 
pin tray out of a single block of 
wood by using the gouge. 

3. Make a drawing for an ink 
stand for two bottles of ink; one 
red and the other black. 

4. Tell how to grind a gouge. 

5. Tell how to oil stone a gouge. 

6. Tell how to grind a chisel. 

7. Tell how to oil stone a chisel. 

— 31 — 







v\r,. & 





LESSON NO. 13 

SHELF— FREEHAND ORNAMEN- 
TAL DESIGN 

Stock, finished size. 

Top, 1 piece %"x8"xl2". 
Back, 1 piece %"x7y 2 "x8". 
Bracket, 1 piece %"x7"x7". 

True the top and cut the corners. 

True the back and cut the cor- 
ners. 

True one edge and one end of 
bracket. On this trued edge and 
end mark off the length and width 
of the bracket. The design when 
finished will be drawn diagonally 
on this piece. Make a freehand de- 
sign on thick paper. Cut it out 
with a knife and use it as a pattern 
by placing it on the board and pen- 
cil around the pattern. Fig. 80 is 
a photograph of the lay out of the 
bracket. 

With a turning saw cut tV" away 
from the line, Fig. 81. File to the 
line with a half round file. The 
curve when completed should be 
continuous, that is, should have no 
flat places. Plane and sandpaper 
all pieces. 

In the back piece draw a center 
line from top to bottom on both 
sides. Do the same with the top. 
Now the problem is ready to be as- 
sembled. 





FIG. S" 











Drive five nails at reasonable 
spaces apart into the back along 
the center line so that the points 
come through slightly on the other 
center line. Place bracket in a vise, 
Fig. 82. Drive nails in the back. 
Remove from vise and test for ac- 
curacy. Return to vise and com- 
plete the nailing. Plane both ab- 
solutely true, Fig. 83. 

In the top piece, with marking 
gauge, draw a line 5/16" parallel 
with its back edge. This is the 
nailing line for the top to the back. 
Put 5 nails along the center line 
and 4 nails along the back line. 
Place the bracket and back in the 
vise and nail the top to the bracket, 
testing as before, Fig. 84. To nail 
the top to the back place in the 
vise so that the nails will not be 
driven into the overhanging end, 
Figs. 85 and 86. 

Set all nails tV' below the sur- 
face with a nail set. 

Plane back smooth, and true if 
necessary, Fig. 87. 

Erase pencil lines or plane them 
out. Then sandpaper and finish as 
desired. 



Note. — This shelf may be adapt- 
ed to any desired position or mate- 
rial. Plan a shelf for the kitchen 
at your home. 

— 34 — 







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Stock, finished size. 



PLATE 11 

LESSON NO. 14 
WHISK BROOM HOLDER 

Front, 1 piece 3 /4"x2"x6". 
Back, 1 piece 3/ 8 " x 3y 2 "x8' 





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— 35 — 




True the front piece, all four 
edges. 

True only the working edge of 
the back piece. 

Lay out front piece as shown in 
Fig. 88, lower. Fig. 89, lower, 
shows the front piece laid out with 
reference to the centers of the holes 
to be bored and the corners to be 
cut. It is not necessary to lay out 
the %" semi-circles because when 
the centers are laid out, the tip of 
the bit is placed at these centers 
and the holes bored. The centers 
for holes for the screws may be laid 
out from the first. 

Lay out the back piece as shown 
in Fig. 88, upper, using the work- 
ing edge, which is already trued, to 
work from. Use a try square, a 
marking gauge and dividers to 
draw all lines. Fig. 89, upper, is a 
picture of the complete lay out. 

Chisel the corners of the front 
piece using a 1" chisel. Sharpen 
the chisel first, as a dull chisel tears. 
Take a cut about y 8 " wide starting 
on the edge with the grain and cut- 
ting across the thickness of the 
board, Fig. 90. 

Place the piece on the bench- 
hook or on a scrap piece of wood to 
protect the bench. Continue tak- 
ing y 8 " cuts, Fig. 91, until the curve 
is completed. 

Bore two holes with a %" dowel 
bit, being sure to turn the board 
over and bore from the other side 
— 36 — 



when the tip of the bit comes 
through. The holes show in Fig. 
92. 

With a back saw cut as shown 
in Fig. 92, keeping at least 1/32" 
away from the line in order to 
smooth up later. Cut out the re- 
mainder with a turning saw or use 
small cuts and chisel it out. When 
close to the line pare as shown in 
Fig. 93. The stroke is somewhat 
of a saw stroke, being from side to 
side, as well as forward. The cut 
must be very fine. The ends may 
be chiseled in the same way, Fig. 
94. Great care must be taken here 
not to split the edges. These ends 
may be carefully filed instead of 
being chiseled. 

With a rip saw and a back saw 
cut the back piece tV" away from 
the line and plane to lines square 
with the concave surface. Chisel 
the corners as in the first piece. 
Complete with a file. Use the file 
as in the previous problem. 

File the corners of the front 
piece in the same manner; also 
with the half round file smooth the 
inside of it. 

Bore the holes for the screws 
and countersink, Fig. 95. 

Plane the board clean with a 
smoothing plane and carefully 
sandpaper. For the inside of the 
front piece wrap sandpaper around 
the file. Put together with flat- 
head screws, Fig. 96. 

Stain and wax. 

— 37 — 






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Sectotcenfer Ccwr HANGER 







PLATE 12 




LESSON NO. 15 



COAT HANGER 



Stock. 

1 piece 18y 2 "x3y 2 "x%". 

Lay out as shown in Fig. 97. 

With a turning saw cut tV' 
away from the lines. Keep the saw 
perpendicular to the board and be 
sure it is not twisted, that is, the 
handles should be turned exactly 
alike at all times in their position. 
Use both hands on the saw frame 
and use easy strokes as the saw 
blades are easily broken, especially 
the narrow ones. 

Trim to lines using spoke shave. 
The blade of spoke shave is sharp- 
ened in the same manner as the 
blade of a plane and cuts much the 

— 38 — 



same. It will be found better to 
push the spoke shave away from 
you in doing most work, though 
sometimes it will be easier to pull 
it toward you. The bottom edge 
of the coat hanger should be cut 
flat and square with the side. The 
spoke shave is held perpendicular 
to the side, Fig. 98. In cutting, cut 
from the end of the board to the 
middle and then reverse the board 
and cut from the other end so as not 
to cut against the grain of the 
wood. 

Cut the top edge in the same 
manner, Fig. 99, and when it is 
cut to the line round it a little by 
turning the spoke shave, Fig. 100. 
When finished round the end of the 
piece with a chisel. See Figs. 90 
and 91 in previous problem. 

Plane clean with a smoothing 
plane. It will be necessary be- 
cause of the irregular shape to nail 
extra blocks on the bench hook to 
hold it. Be sure to remove these 
blocks later. 

Sandpaper the problem. The 
bottom and sides are sandpapered 
in the usual manner. For the top 
edge take a half sheet of sandpaper 
and hold it at both ends, and pull 
it up and down as if polishing a 
shoe with a cloth, Fig. 101. This 
will rub off the ridges left by the 
spoke shave. The blade of the 
spoke shave being flat makes the 
top edge many sided instead of 
round. 

Put the hook in the center. 

Give two coats of shellac. 

— 39- 




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'Book Rack* 



PLATE 13 





LESSON NO. 16 

BOOK RACK 

So far all our joints have been 
butt joints, that is, simply one 
board against the other. In some 
articles this joint is not as strong as 
necessary and to secure the addi- 
tional strength one piece is inserted 
in the other. There are many ways 
of doing this. The simplest is the 
grooved joint used in the book rack. 
In this problem the joint is rein- 
forced by means of screws, though 
it would in all probability be strong 
enough with glue only. 
— 40 — 



Lay out with the try square, 
knife, Fig. 103, and marking 
gauge, at both ends as shown in 
Fig. 102, to the depth of the groove. 
Saw as close to the lines as possible, 
but be careful to keep within the 
lines. 

Cut out between the saw lines 
with a chisel and rubber mallet, cut- 
ting half way across and then re- 
versing the board and cutting the 
other half, Fig. 104. If necessary 
trim with a chisel and rubber mal- 
let, Fig. 105. Keep the chisel per- 
pendicular to the face of the board 
and watch the lines closely, as a 
groove that is too wide is worth- 
less. 

If groove is not deep enough use 
the chisel at a slight angle as you 
would a knife, Fig. 106. 

If the ends are too thick plane 
them to the width of the groove; 
clean all surfaces with a plane and 
sandpaper. 

Assemble, using glue and 
screws. Be sure to test with a try 
square so that the ends will be per- 
pendicular to the bottom. 

Plane the edge after the assem- 
bling, Fig. 107, to take off any un- 
evenness that may be present. 

Sandpaper where necessary. Do 
not forget the block of wood when 
sandpapering. 

Let the glue dry at least twenty- 
four hours. 

Stain and wax. 

— 41 — 







PLATE 14 



LESSON NO. 17 
HANDKERCHIEF BOX 

Consult the drawing for dimen ; 
sions of pieces, Plate 14. 

True both edges and ends. Lay 
out the tongue and groove, Fig. 108, 
using knife, try square, and mark- 
ing gauge. Mark all cross lines, 
Fig. 109, with a knife and try 
square. Mark depth of tongue with 
a marking gauge and cut out. Lay 
out and cut the groove in the same 

— 42 — 



manner. Plane smooth the surfaces 
to be used for the inside of the box. 

Test the parts by putting them 
together with hand screws. The 
jaws of the screws must be paral- 
lel when tightened. Take apart by 
loosening the screw in the end of 
the jaw; do not touch the middle 
screw. Give each surface of the 
joint a thin coat of glue and clamp 
the parts together, tightening the 
screw in the end of the jaw only. 
This pressure forces out all surplus 
glue and also forces the glue into 
the pores of the wood, thus doing 
the work of numerous small nails, 
Fig. 110. 

Plane the top and bottom edges 
flat, Fig. 111. Now the box is ready 
for the top and bottom. 

Make top and bottom pieces 
each i/x" larger than the space to 
be covered. Glue them in place, 
Fig. 112. The slight projection is 
to be planed off later when the glue 
dries, Fig. 113. Plane the whole 
box smooth. Round the corners to 
the radius in the drawing. The box 
is now ready to have the lid sawed 
off. With a marking gauge draw 
a horizontal line ItV from the top 
of the box on the four sides, Fig. 
114. On this line, with rip saw, 
cut off the lid, Fig. 115. Plane 
these edges smooth. Stain, shellac, 
and wax the box inside and out. 
Place hinges and clasp when the 
box is thoroughly dry. 

— 4.°, — 





— 44 — 



LESSON NO. 18 

A CHILD'S WHEELBARROW 

Before starting the construction of this problem carefully 
study the working drawing. Make out a stock bill on a form 
similar to the one shown in Fig. 116. Have this stock bill 
passed upon by your instructor. 



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Width 


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Description 


mark 















































































































Cut your stock, using the bill for 
sizes, allowing enough extra length 
and width for planing and sawing. 

True all pieces to finished size 
as shown on your stock bill. 

The handles are shaped with a 
spoke shave, Fig. 117, and finished 
by rubbing them with a strip of 
sandpaper, in a manner similar to 
that used in polishing a shoe with a 
cloth, Fig. 118. 

Fit the wheel and axle to the 
handles. This requires careful fit- 
ting. Put the box together with 
nails or screws. Nail the box to 
the handles, having the wheel, axle 
and handles assembled at the time 
the nailing is done. 

Secure four wrought iron braces 
and fasten the legs to the handles 
with them, using %" No. 6 screws. 

Finish as desired. 

— 45 — 




LESSON NO. 19 
HAT AND COAT RACK 

Carefully make a stock bill on form similar to one shown 
in Fig. 116. True pieces to correct sizes and shapes. 

Lay out the holes for the dowels. With marking gauge draw 
a center on the inner edge of each of the vertical pieces and 
also on the ends of the horizontal pieces. Place the two 
vertical pieces together and with a try square draw lines across 



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— 46 — 



FIG. 119 

at the proper distances, Fig. 119. 
With the horizontal pieces the 
marking gauge may be used for 
both the center lines and the cross 
lines. Care should be taken to 
mark from the same edge for all 
the holes in each piece. Before 
boring the holes test by placing the 
pieces together in their respective 
positions; see if the lines coincide. 
Bore %" holes l 1 /^' deep, being 
sure to have them perpendicular to 
the plane in which they are bored. 

Cut enough dowel pins 2 1 / 4" long 
to put the problem together. Point 
the ends about tV' with a dowel 
pointer or a knife. 

Put the problem together with 
clamps, without glue. If correct 
after testing, take apart, put glue 
on the dowels, Fig. 120, in the dowel 
holes, and on both surfaces of the 
pieces, Fig. 121. Clamp together, 
Fig. 123, and allow twenty-four 
hours to dry. 

Plane surfaces smooth and clean. 
Scrape with a cabinet square 
scraper, Fig. 124. 

Fit y±' molding for the mirror. 
In cutting the miters use tee bevel 
for marking and testing. Set bevel 
at 45°. Cut the back from y 8 " or 
■h" stock. 

Finish as desired. 

— 47 — 




LESSON NO. 20 
A COSTUMER 

The making of a half lap joint 
is the new exercise taken up in this 
problem. Square the two pieces 
for the base 18" by 1%" by 1%", 
and make sure that they are ex- 
actly alike. Then with knife, try 
square, and marking gauge lay out 
the grooves, which must be exactly 
in the center of the pieces, of the 
same width of a piece, and one-half 
the thickness, so that they will fit 
into each other. 

With back saw cut close to the 
lines, Fig. 125. With chisel and 
mallet cut out the piece between 
the saw kerfs, Fig. 126. Cut from 
both sides so as not to break the 
edges. Carefully trim the bottom 
of grooves with a sharp chisel, Fig. 
127. If the grooves are not quite 
wide enough or deep enough pare 
carefully with chisel to proper size, 
Fig. 128. 

Put together with glue and 
clamp. Allow twenty-four hours to 
dry. Scrape off any surplus glue, 
and plane top and bottom surfaces 
flat. 

Shape and true all the other 
pieces. 

Assemble problem. 

From the large variety of hat 
and coat hooks obtainable, choose 
the ones best adapted to the har- 
mony of the problem. Be simple 
rather than ornate. 

— 49 — 




LESSON NO. 21 
A TABOURET 

The new problem involved in this project is to glue two 
boards together to make a board wide enough for the top. 
Every other feature of the construction of a tabouret has been 
worked out in some previous problem. 

Decide the particular kind of tabouret to be made. See illus- 
trations on page 61. Then shape all the required material. 

















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PLATE 18 
— 50 — 



In preparing the top select two boards whose combined width 
will be at least 1" more than the width, and 1" more than the 
length. 

Note the grains of the two pieces; see that they are alike in 
direction. Test this by planing off a shaving in each. Mark 
the direction of the grain with a pencil. 
True the two edges to be glued. 
Make them slightly concave 
from end to end, about 1/100". This 
is to avoid possible end cracking 
due to shrinkage. Place the two 
edges together and draw a thin 
piece of paper through the space. 
If the paper does not bind the space 
is accurate, Fig. 129. 

These two edges are dowelled 
together. Care must be taken that 
the dowel holes in both boards ex- 
actly agree. There are two meth- 
ods by which this may be done. 
Here is one of them — On one of the 
edges drive in three brads, one in 
the middle, and one 3" from each 
end. With the cutting pliers or 
file, cut off the heads of the brads. 
Place the other edge exactly in 
position over these brads and tap 
the board with the hammer so that 
the brad makes a mark. Draw out 
the three brads. In the six marked 
places bore the dowel holes. The 
other method is to draw a center 
line with the marking gauge in each 
edge; then place the boards to- 
gether and with a try square, draw 
three lines across both edges, one 
in the middle, and one 3" from each 
end, Fig. 130. 

Put dowel pins in place. 

Clamp boards together, using 
hand screws to prevent bulging, Fig. 
131. Separate, and if correct in 
every particular, glue. 

Clamp together again and let 
glue set for twenty-four hours. 

Then shape the top. 




FIO. 131 



— 51 — 



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■Foot Stool- 

Padded Leather Top 



PLATE 19 




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I- Leaf her Padded Top 37/3" to be fitted after assembling of problem. 
OfT/7/L5 FOG FOOT 5 TOOL {Podded Leather Top) 



'LATE LV»a 



LESSON NO. 22 
FOOT STOOL 

True all pieces and lay out all 
dowel holes. 

Chamfers may be cut with chisel, 
Fig. 132. 

Put on the strips for fastening 
the top with screws before gluing 
together. 

Glue both ends together; be care- 
ful to keep them flat and square, 
Fig. 133. One clamp is enough, 
though two are sometimes used. It 
is easier to keep the ends flat by 
using one on each side. Let the 
glue dry for twenty-four hours. Be 
sure to place pieces of wood be- 
tween jaws of the clamps so as not 
to mar the surface of the legs of 
the problem. 

Glue the sides to the ends, Figs. 
134 and 135. Keep problem square 
and let dry for twenty-four hours. 
Fit the board to be used for the top. 
Allowance must be made for pad- 
ding; this will amount to at least 
y 8 " all around, depending entirely 
on how thickly it is padded; it may 
take y±' or more. 

Cotton or hair may be used for 
padding. Put more in the center 
than on the edges, and stretch a 
piece of cheese cloth over the cot- 
ton, tacking it on the bottom with 
short tacks. The leather is then 
tacked over this and the top set in 
and screwed from the bottom. 

When staining, filling, or wax- 
ing, take off the top so as not to soil 
it. 

— 53 — 


















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— 54 — 



LESSON NO. 23 
CLOCK CASE 

Before working this project se- 
cure a small clock 1%" to 2 1 / 4" in 
diameter. 

Select any suitable blocks of 
wood, one for the top and one for 
the base. 

Remove the various projections 
of the clock, leaving the works and 
the enclosing case untouched. 
These are to be inserted into the 
wood. 

Measure the diameter of the 
clock with a rule. 

Mark the diameter on the front 
and back of top piece, using the 
dividers. 

This is the diameter of the hole 
when finished. 

Within this circle draw another 
circle 14" less in radius, using same 
center. 

On the circumference of the 
small circle bore %" holes, close to- 
gether. See Fig. 136. 

With the gouge and rubber mal- 
let cut out the center, Fig. 137. 

Place top in vise and trim to re- 
quired size of hole, Fig. 138. Test 
by placing clock in the hole. 

Assemble and finish. 

Note: Any deep mortise of any 
shape can be made in the same man- 
ner, as for example, in a 1" square 
mortise, a 1" hole would be bored 
and chiseled square. 

— 55 — 






Nj 



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Mi 



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18 



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O 



— CG — 



LESSON NO. 24 



PIANO BENCH 

Before attempting this or any other large problem, make a 
careful detail drawing showing each piece as it ought to be 
when completed. The drawing may be so exact that each part 
of the problem could be made by a different pupil and the whole 
assembled as a .project without any mistakes. 

True all pieces before attempting to assemble any. In lay- 
ing out the dowel 
holes carefully 
match-mark each 
joint; that is, parts 
that go together 
mark with the 
same figures. 

Glue the ends 
together. See Les- 
son No. 22, Fig, 
133; only in this 
problem it is nec- 
essary to use at 
least two clamps, 
one at the rail and 
one at the cross 
piece. Glue the ends FIG - 139 

to the rails and stretcher, Fig. 140. Test to see if corners are 
square. Fit corner blocks and nail and glue in place. Plane the 
top edges of rails and legs flat to receive top. Screw cast iron 
knees to rails. 
Be sure to 
have them 
about tV' be- 
low the top of 
sides, so that 
the top may 
be drawn 
down to the 
sides. Use no 
glue in fasten- 
ing the top to 
the rails, be- 
cause of ex- 
pansion and 
contraction of 
top. 

— 57 






Fis*s. 141, 142, 143, and 144 axe photographs of finished problems. If any of 
these are chosen first make a working drawing. 

— 58 — 




FTO. 142 

— 59 — 




FIG. 143 




— 61 — 



LUMBERING 

The trees are cut down. The winter time is the best time 
for cutting, as there is less sap in the tree at this time of the 
year. The summer is the next best, the fall and the spring being 
the least favorable times. The trees are stripped of their 
branches, and shipped to the saw mill. Here they are sawed 
into timbers, planks, boards, etc. 

Seasoning. Lumber cut from freshly felled trees is not fit 
for use in permanent structures of any kind, as it is green. It 




Upper, sawing logs into lengths; lower, a large load of white pine logs; right, 
yellow pine in a southern forest. 



contains sap and moisture which will evaporate and cause the 
lumber to shrink, especially across the grain. Some woods 
shrink as much as one inch to a board twelve inches wide. In 
length lumber shrinks very little. It is evident what would 
become of a structure made from wood in this condition. To 
prevent this the lumber is seasoned. That is, it is piled in a 
stack in such manner that the air may circulate around each 
piece. It is left in these stacks for a period ranging from three 
months to four years, depending on the lumber, its thickness, 

— 62 — 



and the use for which it is designed. Some of the best grades 
of lumber are placed under open sheds to dry to protect them 
from snow, rain, and the direct rays of the sun. Too fast drying 
causes checks and cracks. 

Kiln Drying. Lumber that is used for furniture should be 
kiln dried as well as air dried. The lumber is piled into a room 
that is heated by steam. The temperature is slowly raised to 
about 180° F., and the lumber is left in this room from four 
days to four weeks, depending on the thickness and kind of 
lumber. In some kilns today the lumber is kept in live steam 
for the first few days. In this way much of the sap is washed 
out of the wood. Some manufacturers claim many disadvan- 
tages for this last method, and it is not generally used. 

Dressed Lumber. Lumber for cabinet work or any fine 
carpenter work is usually dressed on two sides, or, in other 
words, is planed with a machine planer on both faces. Lumber 
dressed in this manner is known as S-2-S or surfaced two sides. 
If it is only surfaced on one side, as is the case of fence boards, 
it is known as S-l-S. Lumber that has been surfaced on both 
faces and both edges is known as S-4-S. 

S-l-S means plane 1 surface and size to thickness. 

S-2-S means plane 2 surfaces and size to thickness. 

S-4-S means plane 2 surfaces and 2 edges and size to thick- 
ness and width. 

S-1-S-l-E means plane 1 surface and 1 edge and size to thick- 
ness and width. 

Before starting to plane the board it is well to know the 
terms generally used to denote the different surfaces. The 
two large surfaces are called the faces. The two narrow sur- 
faces, running with the grain of the wood, are called the edges. 
The two surfaces running across the grain of the wood are 
called the ends. 



— 63 — 



FINISHING 

1. Finishing is the term used for the protecting and beauti- 
fying coat that is given the wood. It may be paint, shellac, 
stain, wax, varnish, or any suitable combination of these, such 
as stain and wax, stain and shellac, stain, filler and shellac, and 
varnish, or any other combination which will protect and 
beautify the wood. 

2. In cabinet work finish plays a most important part. Wood 
without a protecting coat of some kind will soon crack, warp, 
twist, and lose its beauty. To protect the wood a coating is 
needed that will keep the air and moisture out of the wood. 
For woods that have little or no beauty, paint is used. For 
lawn furniture paint is very satisfactory as it stands the weather 
better than varnish. 

3. Paint is a mixture of raw or boiled linseed oil, pigment, 
and a dryer. Linseed is the oil extracted from flax seed. The 
pigment is the coloring matter. It may be white lead, zinc 
white, yellow ochre, lamp black, or many others too numerous 
to mention, depending on the color wanted. The dryer is the 
oxidizing agent to dry the linseed oil into a hard film. 

4. Staining is to wood as dyeing is to cloth. All colors are 
not appropriate to wood. Prussian blue should never be used 
on any kind of wood. 

5. Almost any color, if not subdued, will spoil rather than 
beautify the wood. Stain should be transparent and enhance 
the wood. 

6. Stains are divided into the following: 

7. (a) Water Stains, which stain deeply and give some 
effects which cannot be obtained in any other way. They raise 
the grain of the wood, and for this reason are not always de- 
sirable for manual training work. 

8. (b) Spirit Stains, which arc mad' with alcohol, also stain 
deeply, but do not raise the grain of the wood; the only objec- 
tion to them is that some stains tnat are manufactured tend to 
lap when used in the hands of the boys. 

9. (c) Oil Stains, which are very good for manual training, 
but little trouble being encountered with them. All stains are 
put on in much the same way. 

— 64 — 



10. Directions for Use. Have the wood well planed and 
finely sandpapered, then apply the stain freely with a brush; 
allow it to remain on the surface from three to thirty minutes, 
after which wipe off the surplus stain which has not struck in. 

11. The depth of shade can be regulated by applying the 
stain more or less freely, and also by varying the length of time 
before wiping it off. Allow twenty-four hours or more for the 
stain to dry thoroughly. 

12. In finishing open grained woods, such as oak, ash, ma- 
hogany, and chestnut, stain as above directed, and then fill with 
paste wood filler. See Section No. 15. After the work has 
been filled, complete the finish by applying shellac, varnish, or 
wax according to the finish desired. 

13. On the close grained woods, such as pine, cypress, and 
birch, do not use fillers. 

14. A wax finish can be obtained by applying a thin coat of 
shellac, and finishing with Standard Prepared Wax. 

15. Filler. Thin with turpentine or benzine to the consist- 
ency of flowing varnish; apply it to the surface of the wood 
with a brush, going over no more surface at a time than will 
admit of being cleaned off before hardening. After the filler 
has set, giving the appearance that the gloss has left it, rub off 
with excelsior, shavings or cloth. Eub across the grain when 
practicable; then clean out the crevices with a sharp stick; 
after which wipe the whole problem thoroughly with a cloth 
or rag. Should the filler at any time wipe off too hard, or dry 
too fast for the work, add a little linseed oil, just sufficient for 
the purpose intended. Allow twenty-four hours to dry. Then 
apply shellac, varnish, or wax, whichever is preferred. 

16. Shellac is gum dissolved in alcohol and is of two kinds, 
white and orange. The white is nearly transparent. The 
orange shellac is, as its name implies, orange in color. For 
manual training work the white is preferable because it is diffi- 
cult for a boy to apply the orange. If the coats are not put on 
evenly an unsightly smeared appearance results. 

17. Keep the shellac in covered tin cups and use rubber-set 
brushes, as the bristles do not come out of them so easily. Keep 
the shellac thin. 

— 65 — 



18. In flowing shellac put it on quickly with a 1%" or 2" 
chisel brush. Do not go over the surface more than once as the 
shellac sets rapidly and cannot be brushed out. Laps will show 
if you do. Sandpaper carefully after each coat is dry, using 
sandpaper without a block of wood, holding it in the tips of 
the fingers. 

19. Copal varnish is made from copal gum, linseed oil, and 
turpentine. The oil and gum are first boiled together and 
then the turpentine is added. The compound is drawn off in 
vats and allowed to age and settle. The time for aging varies 
from one month to a year or more, depending upon the quality 
and kind of varnish made. 

20. To flow copal varnish use it as it conies from the manu- 
facturer. If it is too thick place it in a warm room for twenty- 
four hours. If it is then too thick add a small quantity of 
turpentine. In flowing the varnish use l 1 2" or 2" chisel varnish 
brush; put varnish on quickly and thick. Wipe the varnish out 
of the brush into the can and then pick up all the surplus varnish 
with it. It may be necessary to dry the brush again. The 
varnish should be brushed out thin enough so that it will not 
run. Then let it dry from one to three days, depending on the 
kind and quality. It should not feel sticky when dry. Sand- 
paper after each coat is dry, but not after the last. The room 
in which the varnishing is done must be free from dust, warm, 
and well ventilated. 

21. Wax. The exact composition of the wax manufactured 
for use is kept secret by the manufacturers. 

22. In applying any of these waxes it is well to read care- 
fully the directions on the can. The general directions which 
will apply to all waxes are: Have the surfaces planed smooth 
and finely sandpapered. In open grained wood, such as oak, 
ash, etc., fill with paste filler. See section No. 15. When filler 
is dry, apply a coat of wax, using a piece of cloth or brush. 
Let dry from five minutes to half an hour, depending on the 
kind of wax used. Polish with a stiff brush or cloth, alio wing- 
first coat twenty-four hours to dry. Apply a second coat in 
the same manner. Should a higher gloss be desired, as on soft 
woods, give a thin coat of shellac, and sandpaper before apply- 
ing the wax. 

— 66 — 



HARDWARE 

Nails may be had in either the cut or wire variety and they 
are made in varying lengths with diameters suitable to the use 
for which they are manufactured. Cut nails, made from sheet 
steel or iron, have ceased to be generally used in the present day 
building operations. Wire nails, made from steel wire of the 
diameter desired when finished, have now generally replaced cut 
nails. In ordering nails read the letter d as " penny" and use 
the following scale as a guide: 



3 4 5 6 7 



LENGTH OF NAILS 

9 10 12 16 20 30 40 50 60d 



1 11411/2 1% 2 2V4 21/2 23/4 3 3V4 31/2 4 4y 2 5 5i/ 2 6in. 

Brads, nails with small heads, are generally ordered by 
length and gauge, ranging from 3/16" to 3" in length and 
gauged by numbers to indicate the diameter. 



No. 

of Gage 


Decimal 
Equivalent 


No. 
of Gage 


Decimal 
Equivalent 


No. 
of Gage 


Decimal 

Equivalent 


Nc. 
of Gage 


Decimal 
Equivalent 


1 


.2830 


6 


.1920 


11 


.1205 


16 


.0625 


2 


.2625 


7 


.1770 


12 


.1055 


17 


.0540 


3 


.2437 


8 


.1620 


13 


.0915 


18 


.0475 


4 


.2253 


9 


.1483 


14 


.0800 


19 


.0410 


5 


.2070 


10 


.1350 


15 


.0720 


20 


.0348 



Screws, made of iron or brass, come in sizes from Vi" to 6" 
and in gauges from to 30. One large manufacturer catalogues 
screws 1W long in 19 different gauges. In ordering screws give 
the length in inches, and the gauge number. The following is 
the gauge generally used and the table gives the equivalent in 
decimals of an inch: 



No. 


Inch 


No. 


Inch 


No. 


Inch 


No. 


Inch 


No. 


Inch 





.0578 


5 


.1236 


10 


.1894 


15 


.2552 


22 


.3474 


1 


.0710 


6 


.1368 


11 


.2026 


16 


.2684 


24 


.3737 


2 


.0842 


7 


.1500 


12 


.2158 


17 


.2816 


26 


.4000 


3 


.0973 


8 


.1631 


13 


.2289 


18 


.2947 


28 


.4263 


4 


.1105 


9 


.1763 


14 


.2421 


20 


.3210 


30 


.4520 



— 67 — 



In common use there are five kinds of screws, — lag, round- 
head, flat-head, fillister-head, and oval-head. Lag screws are 
ordered by length and diameter, in inches. 

In preparing wood for screws holes must first be bored, and 
if flat or oval-head screws are to be used the hole must be coun- 
ter-sunk. The diameter of the hole bored in the upper piece of 
wood must equal or be a trifle larger than the diameter of the 

screw. In the under board 
the hole must be smaller in 
order that a good thread 
may be formed in the wood. 
For example, — a No. 8 
screw is about 11/64" in di- 
ameter; for this screw use 
a 3/16" bit for the upper 
board, and a y 8 " bit for the 
lower board if it is hard 
wood ; if it is soft wood use 
a 3/32" bit. 

In boring holes for 
screws an automatic boring 
tool is very handy. The 
drills for these tools come 
in different sizes from 
3/64" to 12/64", by 64ths. 
Gimlet bits come in 
sizes from 2/32" to 3/8" by 
32nds. The sizes are 
marked on the shank. For 
example, — a 3/16" bit is 
marked 6, and a 1 / 4" bit is 
marked 8. 

Hinges, locks, clasps, 
screw eyes, screw hooks, 
handles, coat hooks, etc., 
come in a large variety of 
styles and qualities, the 
best way to gain an idea of 
their variety being to see 

1, Lag Screw; 2, Flat Head Screw; 3, Round f , , ,, . 

Head Screw; 4, Eosette Countersink; 5, Gimlet Some 0I tne Catalogues tnai 
Bit; 6, Twist Drill; 7, Dowel Bit; 8, Screw are put Out by the different 

Driver Bit. manufacturers. 

— 68 — 




MECHANICAL DRAWING 

In the manufacturing field today the making and reading 
of working drawings is becoming as important as the reading 
and writing of the language of the country. The reasons for 
this are manifold. Foremost among them is economy of labor 
and material, which accurate drawing makes possible. With 
the advance in building and engineering even the lowest paid 
workmen are required to be able to read working drawings. 
Owing to the division of labor, each individual must make his 
part to fit in with the parts made by others in order to complete 
the project. 

It would be impossible to build one of our skyscrapers with- 
out the use of working drawings. The steel work, for instance, 
in these buildings is often completed before the foundations are 
finished, and measurements are only taken from drawings. 

One need not go to these great complicated pieces of work 
to find working drawings in use. Even in the small shops one 
finds the men working almost entirely from drawings made by 
someone else, an architect for example. 

Drawing is to the manufacturer the same as writing is to 
the author, a means of conveying ideas to another. Though in 
writing there are many languages, in drawing, no matter what 
language the draftsman speaks, his drawings will be understood 
with the exception of his notes which are on the drawing. In 
a well worked-out drawing a thorough knowledge can be had 
of what is meant without reading the notes. 

The Tools Generally Used in Mechanical Drawing Are: 

(a) The drawing board, a rectangular board made of soft 
wood so that the thumb tacks may be easily put in and drawn 
out of it. The edges should be square and straight. Drawing 
boards come in many sizes and styles, usually from 12"xl7" to 
60"x84". In manual training the small board, 12"xl7", is large 
enough, though it is well to have a larger board in the shop ; one 
36"x48" will take care of any kind of drawing that may be 
attempted in the ordinary course of the work. 

(b) The tee square, which is a straight edge made of wood, 
or sometimes of steel, with a cross piece at one end, which in 

— 69 — 



most tee squares is fixed. In the more expensive ones, one side 
of this crosspiece is fixed and the other side is adjustable. In 
the one with the fixed cross piece, or head, as it is sometimes 
called, the cross piece is at right angles to the straight edge. 
In the others any angle can be had by adjustment. Many of 
the better straight edges now have transparent edges about 
Vz" wide. These are very convenient as they enable the drafts- 
man to see the lines under the square. 

(c) The drawing triangle, which always has one right angle, 
the other angles varying. These angles give the triangle its 
name, such as the 45° and the 30° -60° triangle. There are 
other triangles, but these two are universally used, some drafts- 
men possessing only these two. 

(d) The scale, which need only be a rule with the ordinary 
divisions into eighths and sixteenths, is made in different styles 
to suit the convenience of the draftsmen. The one shown in 
the cut is triangular in shape and made of box wood. It has 
eleven different scales. This makes it very popular among 
draftsmen. 




FIG. 147 

Photograph of Drawing Board, Tee Square, 45° Triangle, 30°-60° Triangle, Thumb 

Tacks, and Triangular Scale. 

— 70 — 



(e) The compass, used for drawing circles, which comes in 
all qualities and prices. 

(f) The dividers, which are used for spacing equal distances. 

(g) The ruling pen, which is used for inking lines. 

(h) The bow compasses and dividers, which are used where 
greater accuracy is required. They are operated by means of 
a round milled nut and screw, and can be set very fine. 

(i) The lengthening bar, which is used to increase the size 
of the compass. 




FIG. 148 
Photograph of a set of drawing instruments. 



(j) Rubber erasers, which are made for both ink and pencil 
erasing. A soft eraser is the best, one that least spoils the 
surface of the paper in erasing. 

(k) Erasing shields, which are used in erasing lines or blots 
without spoiling the rest of the drawing. 

(1) Protractors which are used for the measuring of angles, 
and are generally made of metal. 

(m) Ink, which is black. A waterproof carbon ink is gen- 
erally used, and comes prepared. Inks may be had in any 
color, most of which are not waterproof, and these may be 
mixed together or with water to give different colors or shades 
of color. 

— 71 — 



(n) Paper for pencil work, which is commonly known as 
detail paper. It is cream colored and tough, and stands erasing 
well. It comes in different weights and grades, depending on 
the character of the drawings to be made. For complicated 
drawings the best should be used. Paper for ink drawings is 
white, and may be smooth, medium rough, or rough. 

(o) Pencils, which should be high grade graphite, ranging 
from H. B. to 9 H. For general use in manual training a 3 H 
pencil is the best. 

(p) Tracing cloth, which is a linen cloth with a preparation 
on it that makes it transparent. 

(q) Tracing paper, which is a transparent paper to take the 
place of tracing cloth. It is cheaper, but not nearly so good, 
and is used only in cheap drawings. 

Processes in the Ordinary Drafting Room 

1. A free-hand sketch is first made of the object with its 
conditions. 

2. A pencil drawing is made on detail paper to scale, with 
drawing instruments. This is carefully checked to discover any 
inaccuracies. 

3. A sheet of tracing cloth is placed over the pencil drawings 
and with a ruling pen the drawing is inked on the tracing cloth. 
This is again checked and if any mistakes are found they are 
corrected. 

4. The drawing is now ready for blue prints to be made. In 
large cities these tracings are generally sent to some blue print 
concern which makes it a business to print them. If the drafts- 
man makes his own prints, he uses blue print paper, which is a 
white paper with an emulsion on it that is sensitive to light. 
A printing frame, very much like one used in photography, 
only larger, with a glass in it, is used. The tracing is placed 
in the frame toward the glass and the paper with its sensitized 
surface next the tracing. Then the back is put on which holds 
the paper against the cloth. It is exposed to the sunlight until 
the paper has a bronze tinge. Then it is removed from the 
frame and washed in salt water. The black lines on the tracing 
have protected that part of the paper from the light. When the 

— 72 — 



washing is finished the paper is blue with the exception of the 
places where there were lines on the tracing. These lines 
remain white, thus giving a blue background with white lines. 
Now the prints are hung up to dry. As many prints can be 
made as desired from the same tracing. 

5. Machines are now made to produce blue prints. They 
are lighted by electricity. Sometimes the tracing and paper 
are fed at one side of the machine and at the other side the 
print, all finished and ready for use, is produced in about two 
or three minutes. 



GENERAL DIRECTIONS FOR MECHANICAL DRAWING 

1. Fasten paper to drawing 
board with thumb tacks. 

2. See that upper edge of paper 
is parallel with upper edge of tee 
square when head of tee square is 
held against left-hand edge of 
board. 

3. Parallel lines, horizontal, ver- 
tical, and diagonal, constitute 
simple definite problems. 

4. To draw horizontal parallels 




















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c 


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FIG. 150 
Illustration showing the use of Tee Square in drawing horizontal parallels. 

— 73 — 



hold head of tee square against 
left-hand side of drawing board ; 
push it up or down as needed. See 
Figs. 149 and 150. 

5. To draw vertical parallels 
hold tee square as before. Place 
triangle so that right angle touches 
tee square, and move triangle back 
and forth along tee square as 
needed for lines. Figs. 151 and 152. 

6. To draw parallels at 45° set 
tee square as before, placing 45° 

angle of triangle on tee square, and moving triangle back and 
forth as needed. 

7. It would in many cases be impossible or inconvenient to 
draw all projects full size. For this reason drawings are made 
to scale. That is they are made half size, quarter size, eighth 
size, etc. In fact any scale will do that fits the convenience of 
the draftsman. The scales generally used are: 6"=l'-0" ; 3"= 




l'-O"; li/ 2 "==l , -0 / 

and i/ 8 "=l'-(r. 



&"=l'-0"; 3/ 8 " = l'_0" ; l"=l'-0"; 14' 



:l'-0' 




FIG. 152 

Illustration showing the use of Tee Square and Triangle in drawing vertical parallels 
and parallels at 45° to vertical. 

— 74 — 




FIG. 153 
Illustration showing the method of testing the 90° angle of a triangle. 



7. To draw parallels at any angle omit the use of tee square 
and use two triangles, making one the guide. 

8. Lines are important in mechanical drawing. The kinds 
used are as follows (See Fig. 155) : 

All these points are illustrated throughout this text. 




FIG. 154 

Illustration showing the use of two triangles in drawing parallel lines at any angle. 

— 75 — 



• DiFFeREtrrJCiHOS of L vves • 

Dotted Lines are used to indicate 

the. hidden edges of objects 
DasnLmes a/so -to shew hidden 

ports 
Center lines. 

Construct/on Lines, light -full 

lines used os name implies 

« Dimension Lines, light lines with 

arror/ heads to denote extren> 
i Ties On these lines figures 
are placed to indicate size 
of objects 

Projection L me s. also light lines 

Lines of the object full lines 

to denote all visible edges 

- Border Lines, fulf lines of 
suffi c/enf Width to nor men 
ije w/th sije of drawing. 

In constructing anu figure 
drow fines of indefinite 
length When figure /5 enclosed 
fill in with fu// lines ON these 
points are illustrated 
throughout this text 



FIG. 155 




FIG. 156 

Illustration showing the different positions of the 

Tee Square and Triangle in drawing 

a border line. 

— 76 — 



LESSON NO. 1 

Drawing Exercise to Illustrate Use of Tee Square, Triangle, 

Compass, and Scale 

1. Draw border line 1" from left-hand edge of paper and 
i/2" from all other edges. 

2. Bisect the enclosed rectangle vertically and horizontally. 

3. In upper left-hand rectangle draw horizontal lines ^4" 
apart; use tee square. See page 78. 

4. In upper right-hand rectangle draw vertical lines ^4" 
apart; use tee square and triangle. 

5. In lower left-hand rectangle draw diagonal lines 45° to 
the horizontal; use tee square and 45° triangle. 

6. In lower right-hand rectangle draw both diagonals and 
both diameters. Use light lines. Mark center. 

7. Around this center draw a circle 2" in diameter. Use 
compass. 

8. Within this circle inscribe a square on the diameters. 
Use a tee square and 45° triangle. 

9. Circumscribe a square around this circle. Use tee square 
and triangle. 

10. Using the center in (7) draw a circle 3" in diameter. 
Use compass. 

11. Circumscribe this circle with a square. Draw in light 
lines. Use tee square and triangle. 

12. With tee square and 45° triangle draw diagonal lines 
tangent to the circle in (10). The resulting enclosed figure is 
an octagon. 

13. The completed figure consists of: (a) 2" circle with an 
inscribed and circumscribed square, (b) a3" circle with a cir- 
cumscribed octagon. 

See plate 22. 



— 77- 




— 78 — 



EXERCISES PRELIMINARY TO WORKING DRAWINGS 

LESSON NO. 2 
To Find Horizontal and Vertical Axes of Projection. 

1. Select any rectangular prism no dimension of which 
exceeds 4". 

2. Secure three pieces of ordinary window glass each 6" 
square. 



FIG. 157 



Isometric drawing of a glass projection box with block in it. See Lesson No. 2, 
Sections 1, 2, 3, 4, 5, 6, and 7. 



— 79 — 



3. Set these three pieces of glass together with cloth hinges, 
letting them thus enclose the rectangular prism. 

4. Look down from above at the top of the prism. With a 
piece of chalk trace the lines you see on the glass. 

5. From directly in front trace a front view on the glass. 

6. From a direct side study trace a side view. 

7. With dotted lines extend all these lines towards the glass 
sides. These dotted lines will intersect similar lines of the three 
views. 

8. Remove the prism. Open the glass figure on a suitable 
sheet of paper. 

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Horizontal #x/s Of F'roXection 



End 
Elevation 



FIG. 158 

To illustrate Lesson No. 2, Sections 9, 10, 11. 
— 80 — 



9. We now have the horizontal axis of projection which is 
the line extending through the hinge between the top and front 
and continuing through the top of the other view. "We also 
have the vertical axis of projection at right angle to this. 

10. The top view is known as the plan; the one below the top 
is known as the front elevation; the other view is the end 
elevation. 

11. In the square not covered by glass continue the dotted 
lines of the top view from the vertical axis to the horizontal axis. 

12. In good sentences give an oral description of the entire 
lesson. 

LESSON NO. 3 
To Make and Read a Working Drawing 

1. Eeview Exercise 2, studying all features. 

2. Make a drawing to represent same. 

3. Enclose this drawing in suitable border lines. 

4. Put in the two axes in full lines. 

5. In place of the dotted lines used on the glass use light 
projection lines. 

6. As a new problem make another drawing, using measure- 
ments, of a rectangular prism 4"x2"xl 1 / / 2". 

Note: The methods used in Exercises 2-3 may be applied 
to any geometric solid. See Fig. 159. Draw as many views as 
are needed for the complete details of any object. 

LESSON NO. 4 
To Make a Working Drawing of the First Object to be 

Constructed 

1. Select the object — some one-piece simple problem. 

2. Study its details and take its measurements. 

3. Then make a working drawing full size. 

4. Put in dimension lines, keeping them *4" away from 
object. 

5. The axes of projection may now be omitted. 

Note: Have many similar exercises to develop facility in 
both reading and making drawings. To older pupils there 
should be given some exercises in geometric drawing, such as 
bisecting an angle, constructing a hexagon and the like, as these 
problems arise in connection with advanced manual training 
work. See Plate 23. 

— 81 — 




Front Elev Ea/o Elev. 

FIG. 159 

Projection of a rectangular pyramid showing the axes of projection. 



— 82 — 




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1/7/V7/D 



PLATE 82 



— 142 — 



A PROPOSED EQUIPMENT FOR CLASS OF TWENTY-FOUR 

ARTICLE QUANTITY 

Automatic Boring Tool 1 

Bevel, "T" 1 

Bit, Auger, Jennings 1 set 

Bit, Dowell, %-inch 3 

Bit, Dowell, %-inch 2 

Bit, Dowell, %-inch 1 

Bit, expansive 1 

Bit, Gimlet, 2/32 to 7/32 1 set 

Bit, Forstner, Mi-inch 1 

Bit, Forstner, %-inch 1 

Bit, Screwdriver, large and small 2 

Bit Brace, common, 10-inch 3 

Bit Brace, ratchet, 10-inch 1 

Blade, Saw, coping 3 doz. 

Blade, Jack Plane 10 

Blade, Smooth Plane 10 

Brushes, Counter* 6 

Chisel, Ms-inch 2 

Chisel, Vi-inch 2 

Chisel, Munich 6 

Chisel, %-inch 6 

Chisel, 1-inch 24 

Clamp, Colt's iron, 6-inch 6 

Clamp, Colt's iron, 30-inch 4 

Clamp, Wood, hand screw, 6-inch opening 8 

Clamp, Wood, hand screw, 10-inch opening 6 

Clamp, Wood Bar, 24-inch 3 

Clamp, Wood Bar, 36-inch 3 

Countersink 2 

Divider, 7-inch 6 

File, Flat Bastard, 8-inch 12 

File, Half Round Bastard, 8-inch 12 

File, Bit 1 

File, Saw, slim taper, 5-inch 1 

File Card and Brush 1 

Frame, Saw, coping 12 

Gouge, %-inch 12 

Grindstone 1 

Hammer, bell faced 6 

Knife, Chip Carving 12 

Knife, Whittling 24 

Mallet, rubber , A . 12 

Marking Gauge 12 

— 143 — 



ARTICLE QUANTITY 

Nail Set, assorted 6 

Oiler, steel 6 

Plane, Jack 24 

Plane, Smooth 24 

Punch, Carving, assorted 12 

Rule. 4-fold, 2 ft 24 

Saw, Back 12 

Saw, Panel 12 

Saw, Rip 12 

Saw, Turning, 14-inch 3 

Saw, Turning, 12-inch 3 

Saw, Turning, blade 14-inch 6 

Saw, Turning, blade, 12-inch 6 

Scraper, Gooseneck, 2 1 / / 2x5-inch 3 

Scraper, Cabinet, sq., 2V2x5-inch 6 

Screwdriver, 7-inch 6 

Spoke Shave, common 6 

Slip, Stone, India , 1 

Stone, Oil, India 6 

Trysquare, 7y2-inch 24 

Wrench, Monkey, 8-inch 1 



DRAWING TOOLS FOR A CLASS OF TWENTY-FOUR 

ARTICLE QUANTITY 

Compass, 4-inch 24 

Compass, Blackboard, 18-inch 1 

Drawing Board, 12 inch by 17 inch 24 

Pencils, Drawing, 3H 36 

Scale, 12-inch 24 

Tee Square, 17-inch 24 

Thumb Tacks 1 gross 

Triangle, 60°, 9" 24 

Triangle, 45°, 7" 24 



SUGGESTED EQUIPMENT FOR FINISHING 

ARTICLE QUANTITY 

Brushes, 1" Rubber-set 3 

Brushes, IV2" Rubber-set 3 

Iron Box, for waste and oil 1 

Shellac Cup, cone top 6 

— 144 — 



